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Acousmatic sound is sound one hears without seeing an originating cause. The word ''acousmatic'', from the French ''acousmatique'', is derived from the Greek word ''akousmatikoi'' (ἀκουσματικοί), a term used to refer to probationary pupils of the philosopher Pythagoras who, so that they might better concentrate on his teachings, were required to sit in absolute silence while listening to their teacher deliver his lecture from behind a veil or screen. The term acousmatique was first used by the French composer and pioneer of musique concrète Pierre Schaeffer.Schaeffer, P. (1966), ''Traité des objets musicaux'', Le Seuil, Paris. In acousmatic artDufour, D. (1989), "Peu importe le son", ''Le Son des musiques'', Symposium Ina-GRM and France Culture, publishing Ina-GRM/Buchet-Chastel, Paris one hears sound from behind a "veil" of loudspeakers, the source cause remaining unseen. More generally, any sound, whether natural or manipulated, may be described as acousmatic if the cause of the sound remains unseen. The term has also been used by the French writer and composer Michel Chion in reference to the use of off-screen sound in film.Chion, M. (1994), ''Audio-Vision: Sound on Screen'', Columbia University Press. More recently, in the article ''Space-form and the acousmatic image'' (2007), composer and academic Prof. Denis Smalley has expanded on some of Schaeffers' acousmatic concepts.Smalley, D. (2007), Space-form and the acousmatic image, ''Organised Sound'': Vol. 12, No. 1. Cambridge: Cambridge University Press: 35-58.Since the 2000s, the term acousmatic has been used, notably in North America to refer to fixed media composition and pieces.==Origins==In 1955, Jérôme Peignot and Pierre Schaeffer were the first to use the term acousmatic to define the listening experience of musique concrète.Peignot, J. (1960), De la musique concrète à l'acousmatique, ''Esprit'', No. 280. Paris: ''Esprit'': 111-123. In his 1966 publication ''Traité des objets musicaux'' Schaeffer defined the ''acousmatic'' as: ''Acousmatic, adjective: referring to a sound that one hears without seeing the causes behind it'' (Schaeffer 1966: 91). Schaeffer held that the acousmatic listening experience was one that reduced sounds to the field of hearing alone. The concept of reduction (epoché), as used in the Husserlian phenomenological tradition, underpinned Schaeffer's conceptualization of the acousmatic experience. In this sense, a subject moves their attention away from the physical object responsible for auditory perception and toward the content of this perception. The purpose of this activity is to become aware of what it is in the field of perception that can be thought of as a certainty. This reductive procedure redirects awareness to hearing alone.Kane, B. (2007), L’Objet Sonore Maintenant: Pierre Schaeffer, sound objects and the phenomenological reduction, ''Organised Sound'' 12(1): 15-24, Cambridge University Press. Schaeffer remarked that: ''Often surprised, often uncertain, we discover that much of what we thought we were hearing, was in reality only seen, and explained, by the context'' (Schaeffer 1966: 93).Schaeffer derived the word ''acousmatique'' from ''akousmatikoi'' (hearers), a term used in the time of Pythagoras to refer to his uninitiated students. According to historical records followers of Pythagoras underwent a three-year probationary period, directly followed by a five-year period of "silence", before being admitted to Pythagoras' inner circle as ''mathêmatikoi'' (learned). The use of silence related to the protocols of rituals connected with the mystery-like instruction and religious ceremonies of the Pythagorean order. These ceremonies took place behind a veil or curtain with only those who had passed the five-year test being allowed to see their teacher face to face; the remaining students partaking acousmatically.Boas, G. (1953), Ancient Testimony to Secret Doctrines'', The Philosophical Review'', Vol. 62, No. 1 (Jan.), Duke University Press, pp. 79-92 (p90).Minar, E.L. (1944), Pythagorean Communism,''Transactions and Proceedings of the American Philological Association'', Vol. 75, pp. 34-46 (p39).Kahn, C.H. (2001), ''Pythagoras and the Pythagoreans: A Brief History'', Hackett Publishing Co., Indianapolis. More recent research suggests that the Pythagorean "veil" itself was a euphemism for the figurative language with which Pythagoras taught, and the actual practice of speaking occluded by either a veil or the dark likely never occurred.
Acousmatic sound is sound one hears without seeing an originating cause. The word ''acousmatic'', from the French ''acousmatique'', is derived from the Greek word ''akousmatikoi'' (ἀκουσματικοί), a term used to refer to probationary pupils of the philosopher Pythagoras who, so that they might better concentrate on his teachings, were required to sit in absolute silence while listening to their teacher deliver his lecture from behind a veil or screen. The term acousmatique was first used by the French composer and pioneer of musique concrète Pierre Schaeffer.〔Schaeffer, P. (1966), ''Traité des objets musicaux'', Le Seuil, Paris.〕 In acousmatic art〔Dufour, D. (1989), "Peu importe le son", ''Le Son des musiques'', Symposium Ina-GRM and France Culture, publishing Ina-GRM/Buchet-Chastel, Paris〕 one hears sound from behind a "veil" of loudspeakers, the source cause remaining unseen. More generally, any sound, whether natural or manipulated, may be described as acousmatic if the cause of the sound remains unseen. The term has also been used by the French writer and composer Michel Chion in reference to the use of off-screen sound in film.〔Chion, M. (1994), ''Audio-Vision: Sound on Screen'', Columbia University Press.〕 More recently, in the article ''Space-form and the acousmatic image'' (2007), composer and academic Prof. Denis Smalley has expanded on some of Schaeffers' acousmatic concepts.〔Smalley, D. (2007), Space-form and the acousmatic image, ''Organised Sound'': Vol. 12, No. 1. Cambridge: Cambridge University Press: 35-58.〕
Since the 2000s, the term acousmatic has been used, notably in North America to refer to fixed media composition and pieces.
==Origins==
In 1955, Jérôme Peignot and Pierre Schaeffer were the first to use the term acousmatic to define the listening experience of musique concrète.〔Peignot, J. (1960), De la musique concrète à l'acousmatique, ''Esprit'', No. 280. Paris: ''Esprit'': 111-123.〕 In his 1966 publication ''Traité des objets musicaux'' Schaeffer defined the ''acousmatic'' as: ''Acousmatic, adjective: referring to a sound that one hears without seeing the causes behind it'' (Schaeffer 1966: 91). Schaeffer held that the acousmatic listening experience was one that reduced sounds to the field of hearing alone. The concept of reduction (epoché), as used in the Husserlian phenomenological tradition, underpinned Schaeffer's conceptualization of the acousmatic experience. In this sense, a subject moves their attention away from the physical object responsible for auditory perception and toward the content of this perception. The purpose of this activity is to become aware of what it is in the field of perception that can be thought of as a certainty. This reductive procedure redirects awareness to hearing alone.〔Kane, B. (2007), L’Objet Sonore Maintenant: Pierre Schaeffer, sound objects and the phenomenological reduction, ''Organised Sound'' 12(1): 15-24, Cambridge University Press.〕 Schaeffer remarked that: ''Often surprised, often uncertain, we discover that much of what we thought we were hearing, was in reality only seen, and explained, by the context'' (Schaeffer 1966: 93).
Schaeffer derived the word ''acousmatique'' from ''akousmatikoi'' (hearers), a term used in the time of Pythagoras to refer to his uninitiated students. According to historical records followers of Pythagoras underwent a three-year probationary period, directly followed by a five-year period of "silence", before being admitted to Pythagoras' inner circle as ''mathêmatikoi'' (learned). The use of silence related to the protocols of rituals connected with the mystery-like instruction and religious ceremonies of the Pythagorean order. These ceremonies took place behind a veil or curtain with only those who had passed the five-year test being allowed to see their teacher face to face; the remaining students partaking acousmatically.〔Boas, G. (1953), Ancient Testimony to Secret Doctrines'', The Philosophical Review'', Vol. 62, No. 1 (Jan.), Duke University Press, pp. 79-92 (p90).〕〔Minar, E.L. (1944), Pythagorean Communism,''Transactions and Proceedings of the American Philological Association'', Vol. 75, pp. 34-46 (p39).〕〔Kahn, C.H. (2001), ''Pythagoras and the Pythagoreans: A Brief History'', Hackett Publishing Co., Indianapolis.〕 More recent research suggests that the Pythagorean "veil" itself was a euphemism for the figurative language with which Pythagoras taught, and the actual practice of speaking occluded by either a veil or the dark likely never occurred.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
■ウィキペディアで「Acousmatic sound is sound one hears without seeing an originating cause. The word ''acousmatic'', from the French ''acousmatique'', is derived from the Greek word ''akousmatikoi'' (ἀκουσματικοί), a term used to refer to probationary pupils of the philosopher Pythagoras who, so that they might better concentrate on his teachings, were required to sit in absolute silence while listening to their teacher deliver his lecture from behind a veil or screen. The term acousmatique was first used by the French composer and pioneer of musique concrète Pierre Schaeffer.Schaeffer, P. (1966), ''Traité des objets musicaux'', Le Seuil, Paris. In acousmatic artDufour, D. (1989), "Peu importe le son", ''Le Son des musiques'', Symposium Ina-GRM and France Culture, publishing Ina-GRM/Buchet-Chastel, Paris one hears sound from behind a "veil" of loudspeakers, the source cause remaining unseen. More generally, any sound, whether natural or manipulated, may be described as acousmatic if the cause of the sound remains unseen. The term has also been used by the French writer and composer Michel Chion in reference to the use of off-screen sound in film.Chion, M. (1994), ''Audio-Vision: Sound on Screen'', Columbia University Press. More recently, in the article ''Space-form and the acousmatic image'' (2007), composer and academic Prof. Denis Smalley has expanded on some of Schaeffers' acousmatic concepts.Smalley, D. (2007), Space-form and the acousmatic image, ''Organised Sound'': Vol. 12, No. 1. Cambridge: Cambridge University Press: 35-58.Since the 2000s, the term acousmatic has been used, notably in North America to refer to fixed media composition and pieces.==Origins==In 1955, Jérôme Peignot and Pierre Schaeffer were the first to use the term acousmatic to define the listening experience of musique concrète.Peignot, J. (1960), De la musique concrète à l'acousmatique, ''Esprit'', No. 280. Paris: ''Esprit'': 111-123. In his 1966 publication ''Traité des objets musicaux'' Schaeffer defined the ''acousmatic'' as: ''Acousmatic, adjective: referring to a sound that one hears without seeing the causes behind it'' (Schaeffer 1966: 91). Schaeffer held that the acousmatic listening experience was one that reduced sounds to the field of hearing alone. The concept of reduction (epoché), as used in the Husserlian phenomenological tradition, underpinned Schaeffer's conceptualization of the acousmatic experience. In this sense, a subject moves their attention away from the physical object responsible for auditory perception and toward the content of this perception. The purpose of this activity is to become aware of what it is in the field of perception that can be thought of as a certainty. This reductive procedure redirects awareness to hearing alone.Kane, B. (2007), L’Objet Sonore Maintenant: Pierre Schaeffer, sound objects and the phenomenological reduction, ''Organised Sound'' 12(1): 15-24, Cambridge University Press. Schaeffer remarked that: ''Often surprised, often uncertain, we discover that much of what we thought we were hearing, was in reality only seen, and explained, by the context'' (Schaeffer 1966: 93).Schaeffer derived the word ''acousmatique'' from ''akousmatikoi'' (hearers), a term used in the time of Pythagoras to refer to his uninitiated students. According to historical records followers of Pythagoras underwent a three-year probationary period, directly followed by a five-year period of "silence", before being admitted to Pythagoras' inner circle as ''mathêmatikoi'' (learned). The use of silence related to the protocols of rituals connected with the mystery-like instruction and religious ceremonies of the Pythagorean order. These ceremonies took place behind a veil or curtain with only those who had passed the five-year test being allowed to see their teacher face to face; the remaining students partaking acousmatically.Boas, G. (1953), Ancient Testimony to Secret Doctrines'', The Philosophical Review'', Vol. 62, No. 1 (Jan.), Duke University Press, pp. 79-92 (p90).Minar, E.L. (1944), Pythagorean Communism,''Transactions and Proceedings of the American Philological Association'', Vol. 75, pp. 34-46 (p39).Kahn, C.H. (2001), ''Pythagoras and the Pythagoreans: A Brief History'', Hackett Publishing Co., Indianapolis. More recent research suggests that the Pythagorean "veil" itself was a euphemism for the figurative language with which Pythagoras taught, and the actual practice of speaking occluded by either a veil or the dark likely never occurred.」の詳細全文を読む
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